Alice in Chains: The Untold Story

Noble returned to his bandmates’ table inside the tavern. They were under twenty-one, so none of them could order alcohol. Mike sat down at their table and started chatting. He asked them how they were doing, and then, “Gosh, where’s your beer? Let’s get a couple of pitchers here.”

“We’re like, ‘Hell, yeah!’ because we’re eighteen,” Noble said. Mike asked the barmaid for two pitchers of beer. She came back a few minutes later and asked for money. “We’re expecting Mike to pay because we don’t have any money. We’re eighteen—shit, we can barely afford drumsticks and strings! And he looks at us like, ‘Well, you guys gotta pay for it.’ We’re like, ‘We don’t have any money.’”

Mike tried to smooth-talk and flirt with the barmaid so she would give them the pitchers, but she wasn’t having it. “She ended up yanking the pitchers of beer and bringing them back to the bar, and he kind of looked dismayed that it didn’t work, because he wanted beer just as much as us.”

Hit and Run went onstage first. The bar provided a community drum set, which the two bands had to share. The throne on which the drummer sat consisted of two milk crates stacked on top of each other held together by a seal, which wasn’t the most stable arrangement.

Hit and Run was finishing their set with a cover of Led Zeppelin’s “Rock and Roll” when, during the drum solo at the end of the song, Noble noticed the seal holding the crates together had snapped. To prevent himself from falling, Noble stood up and finished the rest of the song without missing a beat. “My bandmates are looking back at me thinking I’m just getting into it, and truth be told, I was trying not to fall on my ass,” he said.

Alice in Chains took the stage. They closed their set with “Suffragette City.” At the end of the song, Sean, possibly feeling the need to match or top Noble’s performance, “stands up and goes full-on the Who on that drum set, kicks them off the stage, starts pounding the shit out of them, and they were just flying everywhere. The crowd is going nuts,” Noble recalled.

After the performance, Noble said, “Layne is just pumped up beyond belief, and he walks up to that guy we saw in the bathroom that bitched him out for peeing in the sink, and from a distance all I could see was Layne’s little finger going directly into the center of this guy’s chest as he’s bitching out this older guy, and this older guy is getting beet-red-in-the-face pissed off, and he’s towering over Layne.

“Layne wasn’t a huge guy. So he gives him a couple of more taps on the chest and then storms off toward the front door, and this guy’s getting ready to follow him. Mike and Sean run up to the guy and they’re like, ‘Hey, don’t listen to him. He’s a little messed up. His girlfriend said you were cute and he’s just a little jealous. Just blow it off—he’s just a little guy,’ and basically talked the guy out of kicking Layne’s ass.” Noble thinks the show raised about eight hundred dollars for Buckner’s tombstone. A few years later, a brief mention was included in the Facelift liner notes: “In memory of Mike Buckner.”4

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Color Tech, one of the Music Bank’s neighbors in the Ballard Building, went out of business, freeing up thousands of square feet of additional space. Unbeknownst to Scott Hunt at the time because his name was not on the Music Bank lease, the landlord approached Bengt Von Haartman and Gabriel Marian directly. On February 3, 1987, Marian and Von Haartman signed a thirty-one-month lease for a nearly fourteen-thousand-square-foot industrial space adjacent to the Music Bank. Under the terms of the agreement, Marian and Von Haartman would pay the landlord $3,447 in rent, and the property was to be used “only for recording and audio visual studios.” Without Hunt’s knowledge or consent, he said, his business partners “decided behind my back to rent the rest of the Ballard Building and turn it into a thirty-million-dollar … pot operation.”5 No one knew it at the time, but this was the beginning of the end of the Music Bank.

On June 20, 1988, an anonymous informant called the Seattle Police Department’s narcotics office with a tip. The informant was very specific, telling Officer Mac Gordon about a possible marijuana-growing operation at a large commercial warehouse in Ballard, providing the specific address, and noting that the power consumption for the facility was “unusually high,” according to court documents. Scott Hunt found out from Von Haartman later on that the informant was a third business partner, who was a materials expert. Marian thought the third partner was making too much money and wanted to renegotiate the terms of their deal, and allegedly threatened him. The third partner wasn’t having any of it. He took his money and his wife and fled the country, but not before tipping off the cops.